Pigment Mixed Media

The latest from Ray Kass' series of abstracted red "still lifes:" a departure from his large-scale compositions, this latest trio of paintings saturate their more compressed planes. ...

Twister '23 Slate/pigmented and sealed steel 32" (height) x 12" (width) x 6" (depth) Stone and metal, usually granite or slate, and found object steel are central in my sculpture. T...

Mirror to the Sun V Oil, graphite, litho ink, dry pigment on paper 40" x 26" I am a visual artist whose work investigates small and large -scale abstraction primarily in the medium...

Lunge 17 Slate/pigmented and sealed steel 17" (height) x 27" (width) x 5" (depth) Stone and metal, usually granite or slate, and found object steel are central in my sculpture. The ...

Twister '23 II slate and pigmented and sealed steel 34.5" (height) x 11.5" (width) x 6" (depth) Stone and metal, usually granite or slate, and found object steel are central in my s...

"Moving Inside Out" from the "Presences" series by Joan Giordano Mixed Media, Caste Handmade Paper (made from Kozo or Abaca Paper with natural pigment), Bamboo, Encaustic Wax, Steel...

"Torn" is Bassett's most intricately patterned work, its luminous white Tadelakt surface carved with a dense, all-over geometric lattice of triangles, diamonds, and star forms that d...

False Bar Oil, bitumen, graphite, sand, dry pigment on paper laid on canvas 38" x 50" I am a visual artist whose work investigates small and large -scale abstraction primarily in t...

Camael Oil, graphite, sand, dry pigment on paper, laid canvas 47" x 35" I am a visual artist whose work investigates small and large -scale abstraction primarily in the medium of p...

"Night Train" is built around a single, arresting gesture — a rounded rectangular void cut through the right side of the Tadelakt plaster panel, opening completely through the work t...

Contemporary, Abstract, Mixed Media, Ceramic, Sculpture, PVC, Pigmented Maxwell Mustardo is a ceramic artist whose highly textured forms are the result of meticulous research into t...

Pebbles, sand and pigment on panel, frame not necessary as it has worked edges. Artist Statement My artistic practice has been profoundly influenced by exposure to two vastly differ...

Artwork with embedded herbarium flowers, plants and herbs in handmade paper explores the beauty of nature preserved in time in the work “Starry Meadow”. Conceptually, the work explo...

California visual artist Kim Frohsin is unsurpassed in her depictions of figures, mostly female, usually in paintings that are intimate in size and scale. All of her work, whether re...

California visual artist Kim Frohsin is unsurpassed in her depictions of figures, mostly female, usually in paintings that are intimate in size and scale. All of her work, whether re...

California visual artist Kim Frohsin is unsurpassed in her depictions of figures, mostly female, usually in paintings that are intimate in size and scale. All of her work, whether representational or figurative, results from her interactions with and observations of her live models during collaborative drawing sessions. The artist fluently wields a visual language of her own creation, and her works unveil the truths, power, beauty, and vulnerabilities of women in particular. Kim Frohsin’s paintings, drawings, and monotypes, are highly sought worldwide and are found in numerous consequential public and private art collections. Kim Frohsin original figure painting 'Green Interior...

California visual artist Kim Frohsin is unsurpassed in her depictions of figures, mostly female, usually in paintings that are intimate in size and scale. All of her work, whether re...

California visual artist Kim Frohsin is unsurpassed in her depictions of figures, mostly female, usually in paintings that are intimate in size and scale. All of her work, whether re...

California visual artist Kim Frohsin is unsurpassed in her depictions of figures, mostly female, usually in paintings that are intimate in size and scale. All of her work, whether re...

California visual artist Kim Frohsin is unsurpassed in her depictions of figures, mostly female, usually in paintings that are intimate in size and scale. All of her work, whether re...

California visual artist Kim Frohsin is unsurpassed in her depictions of figures, mostly female, usually in paintings that are intimate in size and scale. All of her work, whether re...

California visual artist Kim Frohsin is unsurpassed in her depictions of figures, mostly female, usually in paintings that are intimate in size and scale. All of her work, whether re...

"Blue #16" is an artwork created by Gianluca Patti in 2019. This piece is the part of the Floating Series, which Patti created in 2019. Made using natur...

Robin Winters (b. 1950) hand signed; 1986. Acrylic, rhoplex and powdered pigment on screenprint Dimensions: 36”h, 32”w Title: "Home" Provenance: Brooke Alexander Gallery, New York, New York. Gallery label verso. Robin Winters is known for his conceptual works in a wide variety of two- and three-dimensional media and performance/durational art. The reliquary and other recurring themes that appear in his works can be seen in the collection of sculptures and paintings offered in this sale (lots 170, 171, 173, 393, 396). Gallery label to reverse: Brooke Alexander Gallery, New York, New York. Provenance: Brooke Alexander Gallery, New York, New York. Robin Winters (born 1950 in Benicia, California) is an American conceptual, multi-disciplinary, artist and teacher based in New York. Winters is known for creating solo exhibitions containing an interactive durational performance component to his installations, sometimes lasting up to two months. Winters first emerged in the burgeoning Soho NYC art scene of the 1970s. An early practitioner of the Relational Aesthetics (social interaction as an art medium) Winters also created in works through sculpture, installation, performance, painting, drawing and prints. His art maintains a whimsical spirit, and he often returns to ongoing themes involving faces, boats, cars, bottles, hats and jesters or fools. Winters has incorporated such devices as blind dates, double dates, dinners, fortune telling, and free consultation in his performances. Throughout his career he has engaged in a wide variety of media, such as performance art, film, video, writing prose and poetry, photography, installation art, printmaking, drawing, painting, ceramic sculpture, bronze sculpture, and glassblowing. Winters was born in Benicia, California in 1950 to lawyer parents. As a child his hobby was collecting glass bottles found on the beach and under old buildings, which would later influence him as an artist. In 1968, Winters had his first durational performance, entitled Norman Thomas Travelling Museum. The artist drove a Volkswagen bus decorated in collage, many of the images relating to current events and politics. Inside was what the artist described as a “reliquary” containing many objects, including a bottle collection. Winters took the van to shopping centers and even as far as Mexico. That same year, Winters opted not to register for the military draft. Although he was deemed fit to serve, Winters refused. In 1975 the resulting legal proceedings finally came to a close after it was proven that the artist had been harassed by the local draft board. In his teens and early twenties, Winters became acquainted with several local artists who helped shape his aesthetic, most notably Manuel Neri and Robert Arneson. By the early 1970s, Winters was studying at the San Francisco Art Institute (SFAI) and had relocated to San Francisco. At this time Winters became friends with the Bay Area conceptual artists Terry Fox and Howard Fried, and participated in several of Fried's performance works. In 1972 Winters was accepted into the Whitney Independent Study Program in New York City. After coming to New York City, Winters helped support himself by working for various artists, among them the performance artist Joan Jonas and sculptor Donald Judd. In 1974, Winters performed The Secret Life of Bob-E or Bob-E Behind the Veil eight hours a day, five days a week for a month in his studio apartment. Behind a one-way mirror the audience could watch Winters play the character of Bob-E, whose goal was to make a monument for everyone in the world in the form of blue and yellow rubber top hats. By the end of the month the artist had constructed 262 hats. The following year, Winters was invited to take part in the Whitney Museum's 1975 Biennial Exhibition. Entitled W.B. Bearman Bags a Job or Diary of a Dreamer. These meetings led to the formation of the Group Collaborative Projects, or Colab, of which Winters is a founding member. Also in 1976, Winters formed the partnership “X&Y” with fellow artist Coleen Fitzgibbon that would last two years. Together they performed a series of shows in the Netherlands, most notably a show entitled Take the Money and Run. Performed at De Appel in Amsterdam, the show involved the artists robbing their audience. The following day the audience was given an apology, as well as the opportunity to retrieve any valuables and participate in a lottery to win the artists’ services. They also made a Super 8 film in NY called Rich-Poor, in which they asked people on the streets their thoughts on the rich and poor. In 1980 Winters participated in The Real Estate Show and in Absurdities at ABC No Rio. That same year he and artists Peter Fend, Coleen Fitzgibbon, Peter Nadin, Jenny Holzer, and Richard Prince also formed The Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince & Winters. This short-lived collective was based out of an office on lower Broadway and offered “Practical Esthetic Services Adaptable to Client Situation”, as stated on their business card. Their goal was to offer their art as “socially helpful work for hire”. In June of that year Winters participated in The Times Square Show, Colab's most well-known exhibition. The month-long show took place in a four floor building on West 41st Street and was densely packed with art. To cap off a busy year, Winters also became one of the first artists to join the Mary Boone Gallery, showing a successful solo exhibition in 1981. His work was shown in the New York/New Wave show in 1981 at MoMA PS1 along with Jean-Michel Basquiat, Roberta Bayley, William S. Burroughs, David Byrne, Sarah Charlesworth, Larry Clark, Crash (John Matos), Ronnie Cutrone, Brian Eno, Peter Fend, Nan Goldin, Keith Haring, Ray Johnson, Joseph Kosuth, Marcus Leatherdale, Christopher Makos, Robert Mapplethorpe, Elaine Mayes, Frank Moore, Kenny Scharf and others. In 1982, Winters had his first solo exhibition in Los Angeles at the Richard Kuhlenschmidt Gallery. At the Mo David Gallery in 1984, Winters created an installation piece that consisted of a floor of plaster tiles. Underneath each tile, hidden from view, was a drawing. He designed the stage sets for the musician Nico, and assisted French artist Orlan, American artist Stuart Sherman, and American poet Gregory Corso. Two years later Winters was invited to take part in Chambres d’Amis (In Ghent there is Always a Free Room for Albrecht Durer) in Ghent, Belgium. In it, 51 artists created installations in 50 different sites, mostly private homes. Winters chose the home of a local art historian. The artist made 90 drawings based on images found in the large collection of art books in the home's library. He made two copies of each drawing and placed the originals in the books themselves. One set of copies was exhibited in the sponsoring museum, Museum van Hedendaagse, as "The Ghent Drawings". The drawings were also on display at Winters’ solo exhibition at Luhring Augustine & Hodes Gallery in New York City in 1987. In 1986, Winters had a solo exhibition at Maurice Keitelman Gallery in Brussels, Belgium, and the following year a solo exhibition at the Centre Régional d'Art Contemporain Midi-Pyrénées in Toulouse, France. Also in 1986, Winters' Playroom was held at the Institute for Contemporary Art in Boston, Massachusetts. The exhibition was part of Think Tank, a retrospective of Winters' work which traveled to the Stedelijk Museum in the Netherlands, the Centre Regional d’Art Contemporain in France, and the Contemporary Arts Center in Ohio. Winters spent a month in 1989 working with students at the San Francisco Art Institute. Never having worked with ceramics, he spent the month making numerous ceramic pieces, which were then shown in the aptly named One Month in San Francisco. Other components of the piece included Winters’ childhood bottle collection and a video showing each piece in the show filmed briefly next to a ruler.[ Also that year, Robin served as a visiting artist at the Pilchuck Glass School, where he met artist John Drury, who was then working as the school's artist liaison. In the summer of 1990, Winters interviewed fellow artist Kiki Smith for her eponymous book, which was published later that year. That same year (1990), Winters was invited by the Val Saint Lambert glass factory in Belgium to create glassworks in their facility. Winters, artists John Drury and Tracy Glover traveled to Liege from the US, and the three in combination with two of the factories master glassblowers, realized Mr. Winters' work over six weeks time. A portion of the works, a group of glass heads and hats that the artist had produced at the factory, were exhibited in 1990 at the Centre d’Art Contemporain Geneve in Geneva, Switzerland. Later in the year they were included in his solo exhibition at Brooke Alexander Gallery in New York City. They were also shown at Facts and Rumours, an exhibition at the Witte de With Center for Contemporary Art in Rotterdam, the Netherlands in 1991. Winters had a solo exhibition at Van Esch Galerie in Eindhoven, the Netherlands called I am not Indifferent in 1991. The show consisted of paintings, glass heads, and bronze sculpture. Two years later he had another solo exhibition at the Renaissance Society at the University of Chicago, entitled Human Nature. Several hundred heads, made of glass and ceramic, lined the walls and were arranged in rings on the floor. Also on display were various paintings and bronzes. In 1994 Winters had a show at the Michael Klein Gallery in New York City entitled Notes from the Finishing Room, a solo exhibition of paintings. The artist also collaborated with fellow Benicia natives and glass artists Leroy Champagne and Michael Nourot...

Based in Andres, NY and West Orange, NJ, Lisa Pressman initially focused on sculpture before moving toward painting in the 1980s, shaped by Minimalism and Abstract Expressionism. In ...

Work is double-sided, unframed. Based in Andres, NY and West Orange, NJ, Lisa Pressman initially focused on sculpture before moving toward painting in the 1980s, shaped by Minimalis...

Untitled (Blue) Oil, graphite, litho ink, spray paint, dry pigment on paper 40" x 30" I am a visual artist whose work investigates small and large -scale abstraction primarily in t...

Valley House Gallery recently presented "Listening in the Silence" — our first solo exhibition of work by Chaco Terada, a native of Japan who has called Dallas home since 1992. Born ...

This is an archival pigment print on 3 layers of silk organza with sumi ink and mineral pigments. In 2019, Valley House Gallery presented our first exhibition of work by Chaco Terad...

Paper size is 14 x 10 inches. Letraset, ink and pigment stick on handmade paper. Framed. Based in Andres, NY and West Orange, NJ, Lisa Pressman initially focused on sculpture before...

Textural abstract painting by Katherine Filice, featuring stucco, mica, ink, charcoal, and found materials layered onto wood. From her "Common Ground" series, this work demonstrates ...

Abstract textured biomorphic shape painted with bright blue pigment by contemporary Houston, TX artist Matthew Reeves. The work is designed to hang away from the wall and cast a shad...

Keishi paints with the classic Japanese technique called Nihonga - he prepares the paper with gold leaf, then paints on top with mineral pigments, thus creating a special perspective...

In Buddhist Tibet, patrons and monks commissioned thangka art, or sacred painting, to focus their meditations and prayers. Painted with blue, orange, and r...

“Contrast” Abstract Black and Natural Beige, Handmade Paper, Organic Wall Art is a contemporary artwork created from handmade paper embedded with natural plant materials, including b...

This framed mixed media painting by Eric Mack combines his grid work created through collaged pieces of paper, nylon mesh, ink, gesso, and acrylic. Imagery i...

Mixed media

Pebbles, sand and pigment on panel Artist Statement My artistic practice has been profoundly influenced by exposure to two vastly different environments. Firstly, growing up in Lon...

Mirror to the Sun IV Oil, graphite, litho ink, spray paint, dry pigment on paper 40" x 26" I am a visual artist whose work investigates small and large -scale abstraction primarily...

American abstract painter Pamela Stockamore lives and maintains a studio in Litchfield, Connecticut. She received an MFA in Painting from Pratt Institute, with minor concentrations i...

"Floral Mystique" is an abstract diptych painted by Rebecca Sobin in oil, cold wax medium, and pastel powder on a cradled wood panel; measuring 44 x 44 inches. Each separate panel m...

Contemporary Handmade Paper Artwork with Fern and Elder Flowers, Framed Nature Art. This one-of-a-kind contemporary botanical artwork is created from handmade paper embedded with rea...

Exquisite pool or body of water amidst encroaching growth in the form of construction and city growth from all sides. This work from Frohsin's Cautionary Tales series is bold, strong...

Untitled (Burnt Orange) Oil, graphite, litho ink, spray paint, dry pigment on paper 40" x 26" I am a visual artist whose work investigates small and large -scale abstraction primar...

Did You See the Moon Tonight? Oil, graphite, litho ink, dry pigment on paper 40" x 26" I am a visual artist whose work investigates small and large -scale abstraction primarily in ...

“Flower Study I” by Dawn Bassett presents a delicate, tactile composition. Centered on a square field of softly embedded floral motifs, subtle relief patterns are interspersed with s...

This grand scale masterpiece fills a space with marvelous color and energy. This is a three piece triptych that can be displayed with no space in between measures 180 inches in lengt...

Dipak Banerjee - Ganesha - 12 x 6.75 inches (unframed size) Hand Made Pigments on Canvas. ** Cost is inclusive of shipment ( unframed ) Dipak Banerjee is today the undisputed leader...

Adaizan Oil, Marble Powder, Asphalt, Burlap On Canvas 73.3 x 70" I am a visual artist whose work investigates small and large -scale abstraction primarily in the medium of painting ...

Madhu Basu - Magma n°244 - 25.75 X 21.25 inches (unframed size) Acrylic & Pigment on canvas Inclusive of shipment in roll form. Vessels and pots being of importance in Madhu Bas...

Organic Wall Art from Hemp Fibres in Blue Tones "Flight Within" The work presents a layered, textural surface that balances two-dimensional composition with subtle sculptural relief....

Taysha Oil, Marble Powder, Asphalt, Burlap On Canvas 73.25 x 70" I am a visual artist whose work investigates small and large -scale abstraction primarily in the medium of painting ...

Rising Collection, combines two key elements of my process --- my signature use of needlepoint, plus, mixing powdered pigments, gesso, and marble dust to create my own colors. These ...

“The Rubble” series consists of seven tapestry-like paintings hanging from hand-wrapped dowels. The color choice and materials identify what can be destroyed, re-formed, and at some ...

“The Rubble” series consists of seven tapestry-like paintings hanging from hand-wrapped dowels. The color choice and materials identify what can be destroyed, re-formed, and at some ...

Ryan Snow is an environmental artist creating visual meditations through abstract painting, analog photography and digital media. His field process explores the tranquility of mind a...

This contemporary botanical drawing is part of the series "Golden Roots" by Silvana Ilieva — a body of three-dimensional abstract paintings created on a black relief wooden surface a...

"Tick Tock" arranges a grid of capsule-shaped forms across a warm blush Tadelakt ground — each one divided precisely between charcoal and white, repeating with the measured regularit...

Ryan Snow is an environmental artist creating visual meditations through abstract painting, analog photography and digital media. His field process explores the tranquility of mind a...

"Picnic" is a joyful departure in tone, its circular Tadelakt plaster panel — warm white and luminous as a summer afternoon — hosting a cheerful scatter of daisy-like flowers that ra...